Kobayashi KIYOCHIKA (1847-1915)
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A snow scene showing Sakura Sogoro, the leader of a peasant rebellion, kneeling to thank the ferryman Jinbei for the selfless deed of taking him across Lake Inba. Soga watashiba no zu from Choga kyoshin kai. Published by Matsuki Heikichi, 1884.
Fine impression, colour and condition with extensive splashed gofun. Signed Kiyochika ga
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Sumidagawa hazakura no kei, “Cherry Trees along the Sumida River” from a Toto meisho “Famous Places in the Eastern Capital” set of ten prints published c 1831-2 by Kawaguchiya Shozo. Hiroshige’s first landscape set. The first editions, as here, have decorative borders adding a western element into the design. These were removed on later editions. There are also variant states with different shading. Rare.
Fine impression and colour. Backed, otherwise very good condition. Prints from this set are often missing or have the publisher’s name and address on the right border trimmed. Signed Ichiyusai Hiroshige ga. (The last set to be signed like this.)
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Kameido Tenmangu keidai no yuki, “The Compound of the Tenman Shrine at Kameido in Snow.” From a set of twenty-one prints Toto meisho, “Famous Views in the Eastern Capital” published by Sanoya Kihei, c 1834-5. The series was extended to fifty-five in c 1839-42. One of the most famous places in Edo. Known for its pergola, two drum bridges, koi ponds and the wisteria which flowered in the fifth month. The main shrine is dedicated to the memory of Sugawara no Michizane (Tenjin), the father of Japanese learning and built in 1662. The design comes in various states: Late editions have a black sky and the red publisher’s seal on right margin is replaced with an abbreviated Sanoki seal in black. Even later editions show a slipping plug becoming evident on the edge of the water, centre left.
Fine impression and colour. Probably the earliest printing. Slight trimming on right margin, otherwise very good condition. Signed Hiroshige ga.
Status: Available
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Utagawa KUNISADA (1786-1864)
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A woman peering through a gap in a shoji from a set Arigataki miyo no kage e “Shadow Pictures for Our Blessed Times.” Published by Maruya Seijiro c. 1845-6 and is based on strong light sources shining on beauties. This chiaroscuro technique was pioneered by Shumman and used by Utamaro and Toyokuni I.
Fine impression, colour and condition. Signed Ichiyosai Toyokuni ga.
Status: Available
Utagawa TOYOMARU (SHUNRO II) (Act. 1785-1797)
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The actor Onoe Matsusuke, probably in the role of Matsuo-maru in the play Sugawara denju tenarai kagami. Published c 1780s by Igaya Kan’emon (Bunkido).
Fine impression, colour, and condition. Signed Toyomaru ga.
Status: Available
Utagawa KUNISADA II (1823-1880)
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A triptych showing the fight on the roof of the Horyukaku Tower of Koga Castle beside the Tone River. A popular scene from the complex novel Nanso Satomi Hakkenden, “The Diary of Eight Dogs” by Takizawa Bakin (1767-1848). The macabre tale revolves around the eight offspring of a supernatural marriage between a princess and her father’s dog and their commitment to restore the fortunes of the samurai house of Satomi. Shows Inuzuka Shino Moritaka defending himself against the chief of police Inukai Kempachi Nobumichi. Published by Tsutaya Kichizo 1854.
Very good impression, colour and condition. Signed Ichijusai and Baichoro Kunisada ga.
Status: Available
Kikugawa EIZAN (1787-1867)
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An aiban print showing the courtesan Segawa of the Matsubaya drinking ayamezake (a sake soaked with iris root) from a set Seiro gosekku, “Beauties of the Yoshiwara Compared to the Five Festivals.” In this case the Boys’ Festival held on the 5th May. Published by Iseya Soemon, c 1810.
Fine impression, very good colour and condition. Signed Kikugawa Eizan fude.
Status: Available
Utagawa KUNISADA (1786-1865)
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The actor Onoe Kikugoro III as the ghost of Yasukata from a set Mitate sanjurokkasen no uchi, “An Imaginary Thirty-six Poets.” A famous early compilation; in this case the image is inspired by a poem of Nakatsukasa.The ghost haunted the ruined palace of Soma at Sashima. Published by Iseya Kanekichi, 1852.
Fine early impression. Fine colour. Very small binding holes and slight discolouration at left edge, otherwise very good condition. Signed Toyokuni ga.
Status: Available
Toyohara CHIKANOBU (1838-1912)
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A triptych showing the Shinto Storm God Susanoo about to slay the eight-headed dragon, Yamata no Orochi, at the head of the Hi River in pouring rain. The dragon devoured virgins and had eaten the seven daughters of two earthly deities, seen top right. The eighth, Kushi-inada-hime, also on the right, is saved by Susanoo who encourages the dragon to drink eight-times brewed sake from eight vats which intoxicates it enough to be killed. Rare: Chikanobu is not known for this type of subject. Published c 1870s.
Fine impression, colour and condition. Mica applied to sky and the rain printed in silver. Full size. Signed Yoshu Chikanobu hitsu.
Status: Available
Keisai EISEN (1790-1848)
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A carp swimming among water-weed. The moon’s reflection in the blue water. There are various editions of this design: without the moon’s reflection; with and without the censor seal; with and without publisher’s seal; with and without currents in the water. Published by Ezakiya, c. 1843-6. Rare.
Fine impression and colour. Faint vertical folds and two areas of sumi, otherwise very good condition. Signed Keisai with seals Ippitsuan and Keisai.
Status: Available
Ichiryusai HIROSHIGE (1797-1858)
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Seki and Kameyama from the chuban Muraichi Tokaido. The set of 56 prints published by Muraichi, 1852. Printed two-to-a-sheet uncut and probably from a complete proof set. Double censor’s seals Murata and Kinugasa and date seal 2ic/1852 top right.
Fine impressions with strong woodgrain showing. Fine colour. Very small binding holes in right border, otherwise fine condition. Signed Hiroshige ga on each print.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A poem by the celebrated poet and monk Noin-hoshi from the series Hyakunin isshu no uchi, “One Hundred Poems for One Hundred Poets” which was compiled in 1235 by Fujiwara Teika (1162-1241). A group of travellers are caught in a torrential downpour. One of the best designs in the set published by Ebisuya Shoshichi, Ebine, 1840-42. Only 58 of the 100 are known. Various translations of the poem exist, here is one:
The maples and leaves
Of Mount Mimura –
Making the Tatsuta River
A fine brocade
Very fine impression. Fine colour. Slight nibbling on one margin, otherwise fine condition. Signed Ichiyusai Kuniyoshi ga.
Status: Available
Utagawa KUNIYASU (1794-1832)
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A triptych Soshu Enoshima Benzaiten Iwaya narabi sairei no zu, “Picture of Iwaya, the Main Shrine, Pilgrims to the Display of Benzaiten at Enoshima.” Enoshima island was a popular place to visit with the Iwaya caves and the shrine of the Buddhist goddess Benzaiten (Benten), goddess of the arts, entertainment and wealth, and one of the Seven Gods of Good Fortune. A fascinating print showing a multitude of various visitors. Published by Kawaguchiya Uhei, late 1820s. Rare.
Fine impression, colour and condition. Signed Kuniyasu ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Mimasaka, Yamabushidani, “Mimasaka [Province], Yamabushi Valley.” Travellers caught in heavy wind and rain in the valley. Hiroshige II also produced an excellent version of this design. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by b Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Very fine impression and colour. Light album backing and very small wormhole at extreme edge of margin, top left, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Chapter 32: Umegaye, “Plum brach” from an o-tanzaku set: Buyu nazorae Genji, “Heroic Comparisons for the Chapters of Genji.” Shows the Minamoto samurai Kajiwara Genda Kagesuye (1162-1200) fighting at Ikura-no-mori during the Genpai wars between the Taira and Minomoto clans. He has a plum branch stuck in his utsubo “quiver” in honour of his love Umegaye. The branch makes him an easy target for his enemies but he fights on regardless. Published by Ibaya Sensaburo, c 1843.
Very fine impression. Fine colour. Slightly trimmed at bottom, otherwise fine condition. Signed Cho-o-ro Kuniyoshi ga.
Status: Available
Maruyama OKYO (1733-1795)
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One volume complete Okyo gafu, “Book of Paintings by Okyo.” Original covers and title slip. A large book, 11.5 x 7.5 in; 28.4 x 19.2 cms folding out to 11.5 x 15 in; 28.4 x 38 cms. Published by Hishiya Magobe. Dated 1833 but first published 1850 (dated Kaei 3 [1850] at end). Twenty-four pages of sumi illustrations based on Okyo’s paintings. Arguably the most important Maruyama-Shijo painter. A tour de force of the block-cutters’ art replicating Okyo’s brush strokes. Minor imperfections but otherwise a very nice example of this work. Mitchell, p.441, example “A.”
Status: Available
Utagawa HIROSHIGE (1797-1858)
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An original painting, sumi and light colour on silk, 11 x 18 in; 28 x 45.75 cms. Shows the sea off the Miura Peninsula in Sagami Province with Mount Fuji rising above mist in the distance. Hiroshige used the same view for one of his designs for the Thirty-six Views of Fuji set published in 1858. A beautiful painting with a signature dating it to the mid to late 1830s.
Minor creasing and old mount, otherwise good condition. Signed Hiroshige with Hiro seal.
Status: Available
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Utagawa KUNISADA (1786-1865)
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A geisha partly illuminated by a lantern on a boat from a set Tsuki no kage shinobiau yo, “Secret Meetings by Moonlight.” Published jointly by Izumiya ichibei (as here) and Yamamoto Kyubei, c. 1836-38.
Very good impression and colour. Minor creasing, otherwise very good condition. Signed Kochoro Kunisada ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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An original drawing, sumi and colour on thin paper laid onto Japanese paper. A preliminary design for a fan print, the outline indicated in red. Apparently never published. Shows a woman in the box on the left picking mulberry leaves (?), signed Ryusai. And in the box on the right a woman possibly in the process of spinning silk, signed Hiroshige. Good condition.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Shimotsuke Nikkosan urami no taki, “Back-viewed Waterfall on Mt. Nikko in Shimotsuke [Province].” From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Figures gaze up at the back of the waterfall which thunders over the path. It is also known with variant colour schemes. Fine design.
Very fine impression with strong blind-printing on the fall. Fine colour and condition. Full size. Signed Hiroshige ga.
Status: Available
Tsukioka YOSHITOSHI (1839-1892)
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Looking Itchy: the appearance of a kept woman of the Kaei era [1848-1854]. Shows a beauty emerging from a mosquito net that has apparently not been entirely successful. From a set Thirty-two Aspects of Women published by Tsunashima Kamekichi, 1888. The set depicts women of different backgrounds and occupations from the Kansei era through to the Meiji era with punning allusions to their situation or mood.
Very fine impression with strong blind-printing on the fall. Fine colour and condition. Full size. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYASU (1794-1832)
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Shows a beauty after a bath. The poem above compares her to the young green shoots of the willow tree in spring. Published by Omiya Heihachi, c. 1820.
Very good impression, colour and condition. Signed Kuniyasu ga.
Status: Available
Isoda KORYUSAI (1735-1790)
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A pillar print, hashira-e, of a beauty after a bath cooling herself with a fan. A cat looks up adoringly from below. Above her is a temple bell wind chime, often hung in the summer. Masanobu laid claim to have invented the pillar print format. Roger Keyes has suggested that, because many large format prints from the 1740s were printed using two blocks of wood, there was a tendency for the blocks to separate during use, giving rise to the hashira-e shape. Probably the most interesting format in that the restrictions often led to creative compositions. And figures sometimes partially exit or enter from the side, giving weight to the theory of separating blocks of wood. Certainly, these prints were hung on pillars in houses, and because of this they often come browned, faded or damaged. Koryusai was the artist par excellence when it comes to pillar prints. Rare.
Very good impression and colour. Slight toning, but in very good condition for such a print. Signed Koryusai ga.
Status: Available
Utagawa KUNISADA (1786-1865)
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An untitled triptych showing two beauties and a maidservant lighting their way with a lantern and carrying a shamisen box. The beam of light from the lantern illuminates the foreground figures and a leaping dog but leaves the background figures in silhouette. Published by Mikawaya Seimon, c. mid 1820s. A fine design.
Fine impression and colour. Imperceptible fold, otherwise very good condition. Signed Gototei Kunisada ga.
Status: Available
Utagawa YOSHITSUYA (1822-1866)
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A triptych with title Taiheike Yakiyama-Goye no zue, “Picture of the Slope of Burning Mountain in the Taiheiki.” Shows the Japanese Daimyo Sato Masakiyo (Kato Kiyomasa), who was a leading general in Toyotomi Hideyoshi’s invasion of Korea, far left, and his men encountering a monstrous serpent surrounded by bats, tengu and flying goblins on a haunted mountain. Published by Kagaya Kichibei, 1861.
Fine impression, colour and condition. A lovely copy of this triptych. Signed Ichieisai Yoshitsuya ga.
Status: Available
Utagawa KUNISADA (1786-1864)
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An original hanshita-e (preparatory drawing) for a triptych showing, from the left, the actor Bando Takesaburo I as Nagoya Sanza, Ichimura Uzaemon XIII as the Shinzo (“courtesan’s apprentice”), and Nakamura Fukusuke I as Fuwa Banzaemon. This is actually from the dance Sanpukutsui Kabuki no irodori performed at the Ichimura-za theatre, 5/1855. The publisher was Sanoki. These first drafts by the artist themselves survive because a more detailed drawing was needed by the blockcutter, and this was normally given to an assistant to execute. Or the drawing was never taken up by the publisher, for whatever reason. Sumi and touches of red with some pentimenti. Signed Toyokuni ga on the three sheets. Sold “as is” with all imperfections.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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A fine large original drawing, sumi on thin paper, 12 x 18.5 in; 30.4 x 47 cms. Shows battling women holding what appear to be wooden swords. Two seals at the bottom which appear to be the publisher Honmo who published 1855-56. Provenance: Ex collection Dr. Julius Kurth (1870-1949), an eminent scholar who wrote extensively on Japanese and Chinese art.
Sold “as is” but in good condition.
Status: Available
Shunbaisai HOKUEI (Active 1824-1837)
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Shows the actor Arashi Rikan II as the yako Koman holding a shakuhachi and posed within a wooden frame in the play Sugata kurabe deiri no minato, “Comparison of Fighting Figures at the Harbour.” Performed in 1834 at the Naka Theatre, Osaka. A yako was a chivalrous servant, usually of a samurai. Rare: Another impression is in the MIA, acc. no P.75.51.188.
Fine impression with the woodgrain enhanced on the background. Fine colour and condition. Signed Shunbaisai Hokuei ga with the carver’s seal bottom right Kasuke.
Status: Available
Utagawa HIROSHIGE II (1826-1869)
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A view of a smoking Mt Asama, Shinano Province, from Shokoku meisho hyakkei, the “One Hundred Views of Famous Places in the Provinces.” Mt Asama is an active volcano which violently erupted in 1108. Subsequently there was another eruption in 1783 and since then there have been minor tremors. Published by Uoya Eikichi between 1859 and 1861 (this being 1859).
Fine impression, colour and condition. Signed Hiroshige ga.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Izumo, taisha Hotohoto no zu, “Izuma [Province], Hotohoto Festival at Izumo Shrine.” Shows pilgrims to the oldest Shinto shrine in Japan. A heavy mist scene with the torii gate seen to the right. Every year from the 11th to the 17th day of the 10th lunar month (usually November) all Shinto’s deities from around Japan supposedly assembled here. It is also the shrine to visit in the hope of finding a partner. From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshimuraya Heisuke between 1853 and 1856, this being 1853.
Very fine impression and colour. Light album backing and very small wormhole at extreme edge of margin, top left, otherwise fine condition. Signed Hiroshige ga.
Status: Available
ANONYMOUS (Mid to late 19th century)
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A fine original painting in muted tones on silk, 43.75 x 16.5 in; 111.2 x 41.9 cms. Shows a vengeful female ghost (yurei) emanating from a ball of fire. She wears a plain white kyokatabira (funeral robe), has long unkept hair and her claw-like hand clutches her skeletal chest. Yurei-zu reached a peak of popularity in the 19th century, there being a seemingly insatiable demand from the public for stories of ghosts, demons and the supernatural reflected in popular fiction, Kabuki drama and art in general. These ghost paintings were often not signed: This one bears two seals reading “surpassing lotus” and “happy and heaven.” In very good condition with the surrounding mount: hashira and ichimonji areas painted in imitation of silk (kaki byoso) and the image overlapping these areas.
Status: Available
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Hishikawa MOROSHIGE (FL. 1684-1704)
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An original painting showing a high-ranking samurai household at leisure. Moroshige was the senior pupil of Hishikawa Moronobu, and, it is said, was the father of Furuyama Moromasa. Sumi and full colour with gold additions on paper. 11.5 x 19 in; 29 x 48.25 cms. This is most likely from a handscroll as the height is correct, and the slight vertical striations indicate it has been rolled at some time. Painted c. 1700. Some slight loss of pigments, especially the verdigris and minor marks, but all commensurate with the age of the painting. The details on the costumes of the two main figures are exquisite.
Status: Available
KYOJINSAI (Fl. c 1789-1801)
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A large and fine original painting by an artist whom I am unable to find in the literature; possibly a pseudonym. Shows a high-ranking courtesan wearing a sumptuous kimono under cherry blossom. Full colour on paper, 49.25 x 20 in; 125 x 51 cms. The calligraphy above is by Kan’watei Onitake, best known as the author of a series of yomihon entitled Katakiuchi kidan Jiraiya setsuwa , “The Tale of the Gallant Jiraiya,” also known as the Jiraiya monogatari published in 11 volumes from 1806-7. The protagonist was a thief-come-wizard who is usually depicted astride a giant toad. Onitake was a pupil of Tani Buncho, Kyokutei Bakin and Santo Kyoden. It translates as a courtesan musing on the fact that customers’ attention in the spring turns to buying many things and, as the sun sets, will there be many clients in the Yoshiwara gathering as thickly as the cherry blossom. Signed Kan’watei Onitake san with a kakihan of an octopus. On the right the signature and seal of Kyojinsai. On the lid of the box is an inscription reading Kansei-ki Kyojinsai-hitsu oka no tayu sugata gasan, “A Kansai period inscribed painting of a high-class courtesan under cherry blossoms brushed by Kyojinsai.” And a repeat of the Onitake inscription. On the inside of lid: Showa shinyu Yayoi chukan, “Mid-March of the metal rooster [Showa 56/1981].” Appraised by Kimura Suetsuke ((a dealer and Ukiyo-e expert). Very good condition.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Omi, Biwako Ishiyamadera, “Ishiyama Temple and Lake Biwa in Omi [Province].”From a set of 69 prints [Dai Nihon] Rokujuyoshi meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. Moonlight on Lake Biwa is one of the iconic Eight Views of Omi.
Very fine impression and colour. Light album backing, otherwise fine condition. Signed Hiroshige ga.
Status: Available
Utagawa KUNIYOSHI (1797-1861)
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Oiwa and her ghost: Yondaime Ichikawa Kodanji IV no Oiwa bokon, “The Spirit of Oiwa Performed by Ichikawa Kodanji IV.” Probably in the play Atari mimasu yotsuya no kikigaki, performed at the Kawarasaki Theatre, 1848. The popular story has many versions, the gist being that Oiwa’s husband, Kamiya Lemon, falls in love with Oume, the daughter of a rich neighbour. Oume’s family poison Oiwa so that Lemon can marry the daughter. The poison hideously disfigures Oiwa who comes back to haunt Lemon. Published by Ebiya Rinnosuke, 1848.
Fine impression, colour and condition. Signed Ichiyusai Kuniyoshi ga.
Status: Reserved
Utagawa KUNIYOSHI (1797-1861)
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Inuyama Dosetsu, one of the eight dog heroes, enveloped in a conflagration. The heroes represent a Confucian ideal or Buddhist regulation and meet various adversaries in the epic Nanso satomi hakkenden, “Biography of the Eight Dogs” written by Takizawa Bakin between 1814 and 1842. Dosetsu is gifted with magic fire and is seen here with pine sprigs wrapped in paper clenched between his teeth. The subject represents Warabi Station (seen top left) from a set Kisokaido rokujuku tsugi, “Sixty-nine Stations along the Kisokaido.” In fact, a pun on the word warabi which can also mean “straw fire.” The bales can be seen bottom right. Published by Izutsuya Shokichi 1852. The best design from the set.
ga.
Fine impression and colour. Lightly backed and very slight vertical fold, otherwise very good condition. Signed Ichiyusai Kuniyoshi
Status: Available
Toyohara KUNICHIKA (1835-1900)
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The actor Nakamura Shikan IV as Ishikawa Hachizaemon in the play Chuko musashi no abumi staged at the Nakamura-za Theatre in 4/1869. From a set of at least 22 prints published by Gusokuya Kahei, 1869. Kunichika was a hack artist who nevertheless produced some fine triptychs (horizontal and vertical) and this fine set of actor bust portaits.
Fine impression and colour. Minor edge soil, otherwise very good condition. Signed Kunichika hitsu.
Status: Available
Utagawa HIROSHIGE (1797-1858)
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Iyo Province, Saijo. From a set of 69 prints [Dai Nihon] Rokujuyoshu meisho zue, “Famous Places in the Sixty-odd Provinces [of Japan]” published by Koshihei between 1853 and 1856, this being 1853. A large furled sail in the foreground with Saiju village on the water’s edge. Beyond is Mt. Ishizuchi.
Fine impression and colour. Light album backing, otherwise very good condition. Signed Hiroshige ga.
Status: Available
Ikeda EISEN (1790-1848)
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Two beauties in front of a mirror, Ada ni torikumite, “Grudge Match” from a set Ukiyo shiju hatte, “Forty-eight Habits of the Floating World.” This was a popular title for sets of prints – especially during the next thirty years. The sub-titles are quite obtuse, whereas in later series – for example Kuniyoshi’s set of c 1846 – the meanings are self-evident. A fine double okubi-e set published by Matsumura Tatsuemon, c 1821-22. Eisen was a prolific and repetitive artist but produced some fine landscapes and okubi-e sets. Rare.
Fine impression. Slight fading and minor soil, otherwise very good condition. Signed Keisai Eisen ga.
Status: Available
Katsukawa SHUNSHO II (Active 1818-1830)
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Minamoto no Yoshinaka Shitenno to tomoni Kiso no okuyama ni Tengu o taiji su, “Minamoto Yoshinaka and His Four Retainers Defeat the Tengu in the Deep Mountains of Kiso.” Minamoto no Yoshinaka is seen in the centre panel, Higuchi Kanemitsu on the right holding a sword and Imai Kanehiro on the left panel. Tengu are winged demons or spirits known for their fencing abilities, have long noses or bird-like beaks, and are associated with the ascetic practise of Shugendo and wear the garb of its followers, the Yamabushi. Published by Fujiokaya Hikotaro. Rare: Another impression is in MFA, Boston, accession number 11.21594-6.
Fine impression. Very good colour and condition. Signed Shunsho ga.
Status: Available